LaurieAnnie's photos

Title: Portrait of a Man, Possibly a Self-Portrait Artist: Velázquez (Diego Rodríguez de Silva y Velázquez) (Spanish, Seville 1599–1660 Madrid) Date: ca. 1635 Medium: Oil on canvas Dimensions: 27 x 21 3/4 in. (68.6 x 55.2 cm) Classification: Paintings Credit Line: The Jules Bache Collection, 1949 Accession Number: 49.7.42 The broken, flickering outlines that keep the surface and flesh alive in this portrait exemplify Velázquez’s technical brilliance and remarkable control within a tight chromatic range. It probably served as the study for an identical face that looks out from his Surrender of Breda (ca. 1635, Museo del Prado, Madrid), an important early commission for Philip IV’s Buen Retiro Palace. That figure has sometimes been taken as a self-portrait following a grand tradition of artists cleverly inserting themselves into historical or biblical subjects. If this study is a self-portrait, it could be the one described as half-length and unfinished in a posthumous inventory of Velázquez’s works. Text from: www.metmuseum.org/art/collection/search/437874

Title: Portrait of a Man, Possibly a Self-Portrait Artist: Velázquez (Diego Rodríguez de Silva y Velázquez) (Spanish, Seville 1599–1660 Madrid) Date: ca. 1635 Medium: Oil on canvas Dimensions: 27 x 21 3/4 in. (68.6 x 55.2 cm) Classification: Paintings Credit Line: The Jules Bache Collection, 1949 Accession Number: 49.7.42 The broken, flickering outlines that keep the surface and flesh alive in this portrait exemplify Velázquez’s technical brilliance and remarkable control within a tight chromatic range. It probably served as the study for an identical face that looks out from his Surrender of Breda (ca. 1635, Museo del Prado, Madrid), an important early commission for Philip IV’s Buen Retiro Palace. That figure has sometimes been taken as a self-portrait following a grand tradition of artists cleverly inserting themselves into historical or biblical subjects. If this study is a self-portrait, it could be the one described as half-length and unfinished in a posthumous inventory of Velázquez’s works. Text from: www.metmuseum.org/art/collection/search/437874

Title: Portrait of a Man, Possibly a Self-Portrait Artist: Velázquez (Diego Rodríguez de Silva y Velázquez) (Spanish, Seville 1599–1660 Madrid) Date: ca. 1635 Medium: Oil on canvas Dimensions: 27 x 21 3/4 in. (68.6 x 55.2 cm) Classification: Paintings Credit Line: The Jules Bache Collection, 1949 Accession Number: 49.7.42 The broken, flickering outlines that keep the surface and flesh alive in this portrait exemplify Velázquez’s technical brilliance and remarkable control within a tight chromatic range. It probably served as the study for an identical face that looks out from his Surrender of Breda (ca. 1635, Museo del Prado, Madrid), an important early commission for Philip IV’s Buen Retiro Palace. That figure has sometimes been taken as a self-portrait following a grand tradition of artists cleverly inserting themselves into historical or biblical subjects. If this study is a self-portrait, it could be the one described as half-length and unfinished in a posthumous inventory of Velázquez’s works. Text from: www.metmuseum.org/art/collection/search/437874

Title: Portrait of a Man, Possibly a Self-Portrait Artist: Velázquez (Diego Rodríguez de Silva y Velázquez) (Spanish, Seville 1599–1660 Madrid) Date: ca. 1635 Medium: Oil on canvas Dimensions: 27 x 21 3/4 in. (68.6 x 55.2 cm) Classification: Paintings Credit Line: The Jules Bache Collection, 1949 Accession Number: 49.7.42 The broken, flickering outlines that keep the surface and flesh alive in this portrait exemplify Velázquez’s technical brilliance and remarkable control within a tight chromatic range. It probably served as the study for an identical face that looks out from his Surrender of Breda (ca. 1635, Museo del Prado, Madrid), an important early commission for Philip IV’s Buen Retiro Palace. That figure has sometimes been taken as a self-portrait following a grand tradition of artists cleverly inserting themselves into historical or biblical subjects. If this study is a self-portrait, it could be the one described as half-length and unfinished in a posthumous inventory of Velázquez’s works. Text from: www.metmuseum.org/art/collection/search/437874

Title: Camillo Astalli Artist: Velázquez (Diego Rodríguez de Silva y Velázquez) (Spanish, Seville 1599–1660 Madrid) Date: 1650 Medium: Oil on canvas Dimensions: 24 × 19 1/8 in. (61 × 48.5 cm) Classification: Paintings Credit Line: The Hispanic Society of America, New York A distant relative by marriage to Pope Innocent X, Camillo Astalli was made a prince of the church on September 19, 1650, and assumed the name Cardinal Pamphili. Here, Velázquez conveys a sense of the momentary and unfixed. The listing biretta atop the cardinal's head adds to the instability of the fleeting pose, as would have the original off-center placement of the sitter. This baroque exuberance was tempered when, in a later period, the canvas was cut down on the left and bottom to align the cardinal with the central axis of the painting. Text from: www.metmuseum.org/art/collection/search/726747

Title: Camillo Astalli Artist: Velázquez (Diego Rodríguez de Silva y Velázquez) (Spanish, Seville 1599–1660 Madrid) Date: 1650 Medium: Oil on canvas Dimensions: 24 × 19 1/8 in. (61 × 48.5 cm) Classification: Paintings Credit Line: The Hispanic Society of America, New York A distant relative by marriage to Pope Innocent X, Camillo Astalli was made a prince of the church on September 19, 1650, and assumed the name Cardinal Pamphili. Here, Velázquez conveys a sense of the momentary and unfixed. The listing biretta atop the cardinal's head adds to the instability of the fleeting pose, as would have the original off-center placement of the sitter. This baroque exuberance was tempered when, in a later period, the canvas was cut down on the left and bottom to align the cardinal with the central axis of the painting. Text from: www.metmuseum.org/art/collection/search/726747

Title: Camillo Astalli Artist: Velázquez (Diego Rodríguez de Silva y Velázquez) (Spanish, Seville 1599–1660 Madrid) Date: 1650 Medium: Oil on canvas Dimensions: 24 × 19 1/8 in. (61 × 48.5 cm) Classification: Paintings Credit Line: The Hispanic Society of America, New York A distant relative by marriage to Pope Innocent X, Camillo Astalli was made a prince of the church on September 19, 1650, and assumed the name Cardinal Pamphili. Here, Velázquez conveys a sense of the momentary and unfixed. The listing biretta atop the cardinal's head adds to the instability of the fleeting pose, as would have the original off-center placement of the sitter. This baroque exuberance was tempered when, in a later period, the canvas was cut down on the left and bottom to align the cardinal with the central axis of the painting. Text from: www.metmuseum.org/art/collection/search/726747

Title: Camillo Astalli Artist: Velázquez (Diego Rodríguez de Silva y Velázquez) (Spanish, Seville 1599–1660 Madrid) Date: 1650 Medium: Oil on canvas Dimensions: 24 × 19 1/8 in. (61 × 48.5 cm) Classification: Paintings Credit Line: The Hispanic Society of America, New York A distant relative by marriage to Pope Innocent X, Camillo Astalli was made a prince of the church on September 19, 1650, and assumed the name Cardinal Pamphili. Here, Velázquez conveys a sense of the momentary and unfixed. The listing biretta atop the cardinal's head adds to the instability of the fleeting pose, as would have the original off-center placement of the sitter. This baroque exuberance was tempered when, in a later period, the canvas was cut down on the left and bottom to align the cardinal with the central axis of the painting. Text from: www.metmuseum.org/art/collection/search/726747

Title: Young Woman Artist: Velázquez (Diego Rodríguez de Silva y Velázquez) (Spanish, Seville 1599–1660 Madrid) Date: ca. 1650 Medium: Oil on canvas Dimensions: 25 5/8 × 20 1/8 in. (65 × 51 cm) Classification: Paintings Credit Line: Private collection Although listed as "portrait of a maidservant, original by Diego Velázquez" in a 1677 inventory of the Spanish viceroy Gaspar de Haro, this painting is more a study than a finished likeness. The canvas may date to the artist's second trip to Italy, but the country lass—clad in a white kerchief and a heavy coat merely outlined in quick strokes—is painted in a more fluid and rugged manner than Velázquez's other works from that period. Some scholars suggest that the artist may have considered the technique appropriate to his subject, but the quick and direct method of painting may also be a consequence of the short duration of a single session. Text from: www.metmuseum.org/art/collection/search/662706

Title: Young Woman Artist: Velázquez (Diego Rodríguez de Silva y Velázquez) (Spanish, Seville 1599–1660 Madrid) Date: ca. 1650 Medium: Oil on canvas Dimensions: 25 5/8 × 20 1/8 in. (65 × 51 cm) Classification: Paintings Credit Line: Private collection Although listed as "portrait of a maidservant, original by Diego Velázquez" in a 1677 inventory of the Spanish viceroy Gaspar de Haro, this painting is more a study than a finished likeness. The canvas may date to the artist's second trip to Italy, but the country lass—clad in a white kerchief and a heavy coat merely outlined in quick strokes—is painted in a more fluid and rugged manner than Velázquez's other works from that period. Some scholars suggest that the artist may have considered the technique appropriate to his subject, but the quick and direct method of painting may also be a consequence of the short duration of a single session. Text from: www.metmuseum.org/art/collection/search/662706

Title: Young Woman Artist: Velázquez (Diego Rodríguez de Silva y Velázquez) (Spanish, Seville 1599–1660 Madrid) Date: ca. 1650 Medium: Oil on canvas Dimensions: 25 5/8 × 20 1/8 in. (65 × 51 cm) Classification: Paintings Credit Line: Private collection Although listed as "portrait of a maidservant, original by Diego Velázquez" in a 1677 inventory of the Spanish viceroy Gaspar de Haro, this painting is more a study than a finished likeness. The canvas may date to the artist's second trip to Italy, but the country lass—clad in a white kerchief and a heavy coat merely outlined in quick strokes—is painted in a more fluid and rugged manner than Velázquez's other works from that period. Some scholars suggest that the artist may have considered the technique appropriate to his subject, but the quick and direct method of painting may also be a consequence of the short duration of a single session. Text from: www.metmuseum.org/art/collection/search/662706